-los magazine | #4 | atemlos

#4

atemlos

The thing about tourism is that the reality of a place is quite different from the mythology of it.

Martin Parr

–los magazine #4 MMXX Berlin cover image by Lisa GroĂ&#x;kopf & Lena Schwingshandl

ATEMLOS

by Sara Czerwińska & Daniel Eichenberg p. 6-7

SÜDSEE, PALMEN, CURRYWURST

by Lisa Großkopf & Lena Schwingshandl p. 8-17

TURISMO

by Imanol Buisan p. 18-27

ROAMING AROUND A HOTEL

by Jaya Modi p. 28-33

APHORISM * WORDS THAT MAKE SENSE

by Asineta Sima p. 34-43

ATEMLOS by –los magazine

ordnungslos

We all love to travel. We all like to discover new places. We all like to explore the world. This feeling is driven by an inner need of encountering the new or simply escaping the well-known.

Sometimes accompanied by social notions of how the free time should be spent. This feeling of emancipation and delusion brings the tourist to an extreme, and transforms the place of destination as a result.

It is believed that some who visit Paris experience strong psychiatric indicators of stress such as delusional states, hallucinations, derealization, depersonalization, anxiety, as well as psychosomatic symptoms like dizziness, tachycardia, sweating, to name a few. Wrapped in an appealing title, the Paris syndrome is a metaphor of the modern traveling experience.

A place is a brand. Some cities are so crowded with tourists and tailored to their needs that they are in a constant conflict with the locals, leading to deep changes in the urban structures and having a vast impact on the environment.

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This exasperation is transmitted in the graphical collages by Imanol Buisan, who comments on the superficial profile of contemporary tourism, where the image of the real place is no longer honest with itself. The notion of society as spectacle is also examined by Asineta Sima.

“In a world which really is topsy-turvy, the true is a moment of the false.”, she writes and follows with a photo essay of the moments which are “uneasy, yet familiar”.

Lena Schwingshandl and Lisa Großkopf present how 5 hectares of tropical variety in Brandenburg create an artificial world, where the signs of realness are being sought after through the notions of traveller habits. Jaya Modi researches on another spatial setting which most of us consider as part of the travelling reality - a hotel, which is descriped in her essay as a non-space, an experience of its own rather than a place to be experienced.

Through the chosen contributions to this issue of -los magazine we examine the phenomena of tourism. In search of the atemlos/breathless travels to be remembered.

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SÜDSEE, PALMEN, CURRYWURST

südsee, palmen, curryurst

Lisa Großkopf & Lena Schwingshandl

Im Sommer 2019 unternahmen wir eine 14-tägige, künstlerische Forschungsreise in das Tropical Islands Resort in Brandenburg.

Auf einer Fläche von fünf Hektar stießen wir auf eine bunte Mischung aus Themenpark, Hallenbad, Wellnesstempel und Cluburlaub. Unter der weltweit größten freitragenden Kuppel werden Elemente aus Natur, Kultur und Architektur aus verschiedensten Regionen der Welt zu einer eigenwilligen Interpretation der Tropen zusammengewürfelt. So kann man vom Tropendorf zur Südsee und dann weiter Richtung Regenwald spazieren, um sich nach einem kurzen Abstecher in der Lagune bei einer Bali-Zeremonie in Angkor Wat zu entspannen. Selbstredend ist das Resort aus einer postkolonialen Perspektive kritisch zu bewerten. In unserem Bestreben das Wesen der Halle – die täglich bis zu 6.000 Gäste zählt – zu begreifen, liefen wir oftmals Gefahr, selbst den Wahnsinn zu verfallen.

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Unsere Reise haben wir vielfältig dokumentiert: Reisetagebücher zeichnen die Hoch- und Tiefpunkte unserer Reise nach. Des Weiteren entstand das Video “alles meins”, in dem mehrere aneinandergereihte Aufnahmen eines weißen Handtuchs in der tropisch anmutenden Landschaft zu sehen sind. Wir spielen hier mit der Symbolik platzbesetzender Handtücher am Urlaubsstrand und thematisieren dadurch auf humorvolle Weise im Urlaub geltend gemachte Besitzansprüche des öffentlichen Raumes. Außerdem versendeten wir während unserer Reise täglich eine Postkarte an der Festival Localize, wo wir im August 2019 eine Performance Lecture hielten. Last but not least, gibt es eine ganze Reihe an Selfies, in welchen wir uns überspitzt als Touristinnen an verschiedenen Plätzen in der Halle inszenieren. Diese Fotos spielen mit der Grenze zwischen uns als Performerinnen und Privatpersonen, die während unserer Reise zunehmend ambivalent.

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sĂźdsee, palmen, curryurst

Tagebuch Lena Schwingshandl - ein Fragment

südsee, palmen, curryurst

21.07.2019 ein harter start in den morgen. um 7

wie man briefkuverts bastelt und dass

waren wir schon auf und gingen früh-

papierflieger in der tropischen luft

stücken. danach streunten wir durch

hier besser fliegen.

den dschungel und filmten ein biss-

stimmt tatsächlich.

chen. dabei sahen wir, wie die flamin-

wir malen ein bisschen mandala und

gos gefüttert werden. sieht aus wie

kaufen dann chips bei dem jungen

dreckwasser in einer badewanne. und

herren der uns immer sagt wie hübsch

bewegen die sich eigentlich nie vom

wir sind und wir merken uns seinen

fleck? sie stehen immer in selber posi-

namen nicht.

tion. wir fragen uns ob die auch jeden

wir chillen ein bisschen vor dem zelt,

morgen ausgewechselt werden. ein

räumen auf und dann ziehen wir um.

schönes bild von der südsee filmen wir

zurück in die suite! home sweet home.

auch. ohne leute sieht es tatsächlich

hier ist es doch am besten. der Aus-

hübsch aus und man möchte sich in

blick von hier auf den strand ist ein-

dem halben truman himmel verlieren.

fach der Wahnsinn. wir schauen uns

wir sind sehr erledigt und geben unser

ein bisschen die echte welt im fernse-

bestes, produktiv zu sein. nach einem

hen an. später holen wir uns pizza und

kleinen abstecher nach harbour city,

schauen weiter fern.

nehmen wir noch die soundkulisse im

in der sauna waren wir heute auch,

urwald auf. fast ein bisschen gruselig,

wieder mit maske, das war fein. wir

das kindergeschrei. zumindest dürfen

fühlten uns wieder glücklicher und

wir auch nicht miteinander reden und

vitaler. mutig genug für ein weiteres

es ist fast ein bisschen wie meditation.

kulinarisches abenteuer. zuchini ka-

danach sind wir noch in tropino, wo

rotten nudeln in palm beach.

wir nach einer zeit auf den kinderani-

vor dem schlafengehen chillen wir

mateur treffen. er versucht uns stetig

noch in unserem himmelbett und

zu beeindrucken und zeigt uns

genießen die lasershow.

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südsee, palmen, curryurst

Tagebuch Lisa Großkopf- ein Fragment

Und trotz allem fühle ich mich so tot

der Fall sein. Schließlich werben sie

wie die Pflanzen im Regenwald. Das

ja mitunter auch mit der Schön-Wet-

mit dem Pflanzen ist ja sowieso ein

tergarantie. Also gar kein Regen. Nie!

Kapitel für sich. Es werden ja in der

Aber vielleicht kann man das Staub-

Halle nicht nur unterschiedliche Teile

abspritzen der Pflanzen als Regen

der Welt nachgebaut, sondern auch die

durchgehen lassen? Anyways, dieses

Natur wird nachgebaut. Immerhin

merkwürdige Verhältnis zur „Natur“

gibt es hier den größten (und vermut-

trifft man ja auch außerhalb der Halle

lich aber auch den einzigen) Indoor-

an. In der echten Welt. Nur ist es da

Regenwald der Welt. Ich wunder mich

oft besser getarnt. Überhaupt ist die

jedes Mal erneut,

Halle wie ein Symbol für so vieles der

Wenn ich diese Bezeichnung auf einen

„echten“ Welt. Sie ist der Inbegriff der

der zahlreichen Schildern geschrie-

westlichen Entertainment- und

ben sehe. Dass das überhaupt erlaubt

Erlebnisgesellschaft. Oder viel mehr

ist! Heute habe ich interessehalber

eine Parodie davon. Unbewusst, ver-

mal die Definition eines Regenwaldes

steht sich von selbst. Wow, es gibt echt

gegoogelt. Wikipedia sagt dazu: „Als

super viel Potential das Alles hier in

Regenwald bezeichnet man Wälder, die

eine künstlerische Arbeit zu übersetz-

durch ein besonders feuchtes

ten (Oder zumindest einen Aspekt

Klima aufgrund von mehr als 2000

davon). Aber mir fehlt gerade die

mm Niederschlag im Jahresmittel

nötige Distanz, um über den Wahnsinn

gekennzeichnet sind.“ Haha, das kann

hier gescheid reflektieren zu können.

ja mal in Tropical Islands echt nicht

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sĂźdsee, palmen, curryurst

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TURISMO

turismo

by Imanol Buisan

I want to pull out the asphalt until I find nets of mycelium, return the petroleum which shaped it to its origin, miles away under my feet and my hands. And once the landscape is back in place, I would banish those who no longer feel the city as theirs, turn those who speculated with culture into stateless people, those who turned the city into a show, a stage for their Instagram pictures, those who think their squares, seas and forests don’t belong to them and they spit on them. I don’t want a sticker from each country I have visited, I don’t want my steps along those to turn their landscapes into wasteland, I don’t want a backpack loaded of clone pictures, made-in-china souvenirs, alcohol and vomit experiences or memories of a white European indoctrination.

I don’t want programmed-by-quarter-of-hour routes in franchise restaurants which killed the local shops, attended by other disciplines´ professionals who struggle to pay rent with a wage which looks over from the threshold of their souls.

I don’t want must-go-lists of cities, I don’t want to destroy the planet to have 10 likes, I don’t want to have arguments to be able to follow elevator speeches.

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Turismo The embedded selfishness in wanting to go to remote and exotic places will end up destroying those, or, even worse, eventually turning them into a new London, identical to Barcelona and New York, losing their charm and idiosyncrasy.Â

Tourismo

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turismo

Madalena de Proust Barcelona has turned into a stage for tourists, where the inhabitants live at the mercy of a city focused on tourism. Because of its own success, visiting the city has turned into something dreadful, due to the high concentration of people visiting the same places.

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irregularitäten turismo

3 Philip Johnson, Texte zur Architektur, DVA, Stuttgart 1982, S.170

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turismo

Outside Traveling is a journey to the inner self in which we should find ourselves in the landscape, take care of it, learn from it, and discover the closeness without destroying anything as we pass by.

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turismo

Postureo Because of the times we live in, we feel forced to fill our lives with Instagram accounts and our stories, taking advantage of other people’s misfortune, or destroying cities and ways of life which don’t belong to us, to come back home as unhappy as we were before.

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ROAMING AROUND A HOTEL

by Jaya Modi

roaming around a hotel

This is an excerpt of Jaya Modis Thesis “Non – Spaces”.

Renowned anthropologist Marc Augé via his works purports, that there are some spaces of transience that don’t hold enough significance to be regarded as “places” (1995). Their unchanging and often perfect fabrications can only be felt in ephemerality, thus earning them the name, “non-place”. These spaces are often regarded as unreal and that defines the fact that we are affected differently when exposed to them.

The concept of “non-spaces” intrigues the understanding of objects, people and spaces and how they interact with one another. The nature of this unreality can be explored by dissecting elements of space, time and memory that create these counterfeit experiences of materiality & identity.

Hotel rooms, airports, trains, are all places we have visited, but with no real concrete memory of them; we interact with them for such short periods of time and in such concision that they don’t register as “constants”, thus affecting our memories of/ with them. This lack of continuity and memory changes our perceptions, which in turn affects our identity: as it is so often dictated by our experience of our surroundings, memories and time.

Augé asserts that - “If a place can be defined as relational, historical and concerned with identity, then a space which can not be defined as relational or historical or concerned with identity will be a non place.” (1995, p. 77). What is interesting is that Augé denotes this outcome to ‘Supermodernity’. He is of the opinion that it is against the backdrop of the emptiness of post28

modernism; where we function from the Meta-truths, where attributes are extracted from objects of the past based on their present relevance, that these places have developed.

He calls them ‘places of memory’ as they don’t integrate with earlier places or anthropological detail, and instead are listed, classified and promoted to be assigned circumscribed position and function. He expands on this assertion by using words to illustrate places where we see repetitive transits and temporary existences: the illusion of displacement only to be further cemented by mechanical, empty, wordless gestures that lead one to solitary continuance within ephemeral and possibly meaningless exchanges.

Augé discusses these non-places as points of study for anthropologists to objectively look for dimensions that can be quantified or evaluated. As per Augé, places and non-places are continual, opposing polarities where while one cannot be erased, the other struggles to be completed. Yet, between the two, he certifies a non-place to be measurable: in totality of its air, volume, and distance components.

He suggests that the usage of words and mediation of language is what often dictates the equation between individuals and their surroundings. In his texts, Augé looks at ‘space’, and its plasticity in used language - albeit looked at negatively for being ‘non-symbolized’, it can be separated from its ambiguity caused by its clichéd use in modern language to quantify the abstract. In his text, by citing examples of the indiscriminate and obsessive use of the term, he successfully dissects the workings of the notion, idea and functioning of the word itself.

Augé theorizes, “The space of non-place creates neither singular identity nor relations; only solitude, and similitude.” (1995, p. 83) Non-spaces can be seen as places where one’s existence is predominantly “in – between” or effervescent. Thus a nonspace may cause an individual to take a different identity but the original identity is recovered immediately on the dismissal 29

roaming around a hotel

of the interaction with or in the non-space.

Looking at common examples of non-spaces such as airports, hotels, roundabouts, malls, etc., Augé establishes how our functioning in these spaces is primarily dictated by a set of instructions - the mediations that tell us ‘how to behave’. It is in this flow of subordination that one can argue a partial loss of individual identity as the people in such spaces submit to behavior conforming them to each other and the space they are restricted within. People act in accordance of the rules of the space such as – ‘Turn left’, ‘No – smoking’, ‘Do not talk’, etc. which defines their characters in that space and affects their extended experience of it as well.

Augé commonly cites Hotels as non-places (1995), and most of us living in the modern world today have visited a hotel sometime in our lifetimes. For the purpose of this thesis, it is interesting to analyze how these experiences have been. Thus, I set about to visit numerous hotels, and interviewed people I saw around me. I asked them - Why they came, How they felt, Why they enjoy the hotel experience, In what ways is it different from their homes or what ways similar, Why did they choose specific hotels, etc. From the information gathered, I was able to analyze my own documentations against the views of experts who have written about the same.

A common effect that I noticed, that non-places like hotels have on people is that they turn them submissive. Visitors are overcome with a sense of dissociative fugue; they take on an assigned identity, following the nonverbal, insinuated instructions of the non-place. Once in a hotel, visitors unknowingly settle into the labyrinth of directions – how to appropriately behave in public spaces, rules for using the facilities, where and when to eat, which spaces to enjoy and what to enjoy. In my interviews, people described hotels to be “amazing experiences” whilst still being “sanctuaries” for them as they “travel through 30

places.” Most said they chose specific hotels based on the “amenities available” and the lavishness that attracted them.

Many saw hotels as almost a parallel existence that helped them relax.

Hotels, for most people are temporary ‘homes’; they offer safety and shelter, and possibly extended options of food and comfort. Despite the seemingly utopian quality of these sanctuaries, everyone ultimately returns ‘home’- a place that may not offer the same luxuries a hotel does, but still functions as a permanent element in people’s lives. A simple reason for this is because a ‘home’ holds meaning and permanence for individuals, and hotels are merely serving a transient purpose (as non-spaces do).

Through his text on simulations and simulacra (1994), Baudrillard discusses how we constantly buy into the Hyperreality, and how these processes lead us to eventually presume simulacra to be reality.

The model for what is ‘real’ and what is ‘hyper real’ becomes the same, and that signifies the meaninglessness we live in; where reality is subjected to the rules of what is ‘simulated’ such that the definitions between them blur, and they are no longer discernable, because ‘simulation’ is now being treated as ‘reality.’ A simple example of this is how Internet money or virtual money translates into real value and plays its due role in the economy and commerce.

The experience of a ‘hotel’ can never be ‘real’ because not only is a hotel a non-place, it also remains shrouded in simulacra.

The preemptive or presumed reality for a hotel ‘experience’ replaces the process of actually experiencing it. One imagines the experience beforehand because the expectations for such places are already prescribed. However, as seen with almost all non-places, a hotel is also constantly promoted and exalted to the status of ‘a place of memory.’ Augé refers to hotels as “tran31

roaming around a hotel

sit points and temporary abodes that are proliferating under luxurious conditions.” (1995, p. 63) The anonymity and solitude that a non-place like a hotel offers, gives its temporary occupants the illusion of being part of a grander, larger scheme; a part of a utopian city-world, and in these ever changing global times, the forces of urbanisation are creating even more such non-places. As a ‘Supermodern’ result of which, “people are always, and never, at home” (1995, p. 83).

The human displacement in these non-places takes its own toll on the identities of those who engage with it - after all, our identities are almost forcefully exposed in this globalized world. The ‘performance’ requisites of a non-place constantly cause one to re-define ‘the self’ within one’s surroundings.

People in a non-space like a hotel, mediate through relations between themselves and with ‘others’. We can note that even though people connect in non-spaces only by their indirect mutual purpose, individuals often succumb to a ‘shared identity’.

I was greatly intrigued by this plastic nature of hotels, and I wanted to further explore how a space changes when it becomes a hotel and what it may become when that space is no longer one. The Averard hotel is one such unique space that stands as a hotel that has now been taken over as an exhibition space. Its ruins and structures remain to tell their own stories against the new tales of the objects placed within it for an exhibition. The Averard “Hotel” acts as a ‘readymade’ exhibition space, obliging us to question ‘What is worth saving?’ and ‘What must be destroyed?’ As described by the Slate Projects, “Happenstance layers of its history stage the connection between temporality and value. Like a cadaver, it fascinates us with clues to a lost past and uncertain future.” (The National or the Skip, 2016)

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The various exhibitions held in the hotel all operate with relation to the art and the space it is displayed in. The Averard has a dual identity – the previously existing corridors and staircases map the site and create the route for the visitors, they leave tell tale traces of preexisting structure which dictates function and often plays with perception of the onlooker’s gaze.

For example, during the “The National or the Skip” exhibition, the visitors were able to view sculptures installed in the old hotel’s restaurant, but the hauntings of its remaining embellishments provided a pre-existent ambience to the viewing of the artworks. Albeit the unreliability of material appearances of the space provides unstable chronologies, it still manages to greatly overpower how a viewer explores the exhibition space.

This observed phenomenon can be seen as a persevering effect of how a hotel, although not functioning as one anymore, still retains its non-place like dictations over its visitors.

1. Augé, M. (1995) Non-places: introduction to an Anthropology of Supermodernity. London: Verso .

2. Augé, M. (2002) In the Metro. Minneapolis: University of Minnesota Press.

3. Baudrillard, J. (1994) Simulacra and Simulation. Translated by Glaser, S. Michigan: University of Michigan Press.

4. Calle, S. (1999) Double Game. London: Violette Editions.

5. Debord, G. (1955) Introduction to a Critique of Urban Geography. Berkeley, CA: Bureau of Public Secrets.

6. Eco, U. (2014) Travels in Hyperreality. Translated by Weaver, W. London: Harcourt Trade Publishers.

7. The National or the Skip (2016) [Exhibition]. The Averard Hotel, London. 30 September 2016 - 23 October 2016.

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APHORISM * WORDS THAT MAKE SENSE

aphorism * words that make sense

by Asineta Sima

The photo essay is a reflection on the writings of Guy Debord on the Society of Spectacle which still applies to our contemporary way of living in the 21st century. If we consider the following quote: ‘In a consumer society, social life is not about living, but about having’. Tourism falls within the same idea that social life is just a state of having and appearing.

Culturally we exchange experiences based on the concept of possession even when we consider tourism; there is very little actual engagement when travelling, and what we are left with is a list of countries that we have visited.

This series is a consequence of my readings on the Society of Spectacle while thinking about the constant focus on ‘having’ and ironically listening to young monies rap music.

In a consumer society, social life is not about living, but about having; the spectacle uses the image to convey what people need and must have. Consequently, social life moves further, leaving a state of ‘having’ and proceeding into a state of “appearing”; namely the appearance of the image.

“In a world which really is topsy-turvy, the true is a moment of the false.”

Ironically because, listening to Minaj, Future, Asap sing about how they ‘made it’ and reading the above Guy Debord’s aphorism on the Society of Spectacle, is an association of unsychronised and displaced feelings that end up existing in a space in-between. Without a clear definition, that is uncanny and presents a situation when something is about to happen.

Making pictures with a strict idea in mind before taking the pictures doesn’t fulfill me with any joy. Not anymore. Unless 34

it is about space and social issues. Just like eating a lemon is for the digestive purpose not for its sweetness hidden by the acidic content.

The result seems to be uneasy and tense. Made by the displacement of these social theories in combination with young monies music, I have come to associate and select old pictures that place you in a moment that is uneasy, yet familiar.

Situations that we all have at some point experienced.

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aphorism hey, slavs * words that make sense

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aphorism * words that make sense

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aphorism * words that make sense

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aphorism * words that make sense

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THE AUTHORS Asineta Sima Asineta Sima (Transylvania, RO 1990) is a Romanian / Italian artist in the field of photography, performances, written words and videos. Currently working and living in Manchester, UK after graduating from the Glasgow School of Art in 2016 with a BA (Hons) in Fine Art Photography.

Sima, thinks of herself as part of a migratory generation where the ideas of borders and belonging, connected strictly to the land where one was born, have become obsolete. Her work celebrates the relationship that forms between physical, virtual and biological space (be it real or imagined) and social interactions, within the constraints of the political landscape.

Recent works on this subject have been exhibited in Italy and the UK, and include: the authors

Speed of Water, *ERROR 404. Sharks are eating the internet cables - TRENOFF Festival, Bologna IT (2017), ‘The beauty of me is that I am very rich’ - Tontine Building, Degree Show Glasgow, UK (2016). www.asinetasima.com Instagram: @jjsima

Imanol Buisan I´m a handmade-collages artist based in Barcelona, Terrassa. I work on a daily collage project since 2014, trying to investigate the language of collage. Nowadays I’m working on an abstract novel. An important point of my work is the destruction and reflection of time as a concept. I try to transform contemporary cultural images into new shapes.

While I´m not trying to create anything from zero, it’s not just about visual ecology, it’s also about the importance of our cultural base and the elimination of our ego.

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Jaya Modi Jaya Modi is a London-based graphic designer who works within the intersections of design-based theory and praxis. A postgraduate from the University of Arts London, she has contributed to a variety of design spaces and worked on both collegiate and industry briefs across departments of curation, visual branding and community development. She has professional experience working with esteemed organisations like the Shawn Carter Foundation, British Council and Hidden Women of Design, and has also contributed to several online platforms and print publications. Currently, she is an associate editor for JAWS Journal, and also works as a DesignConsultant with Tiipoi, a product and design studio in London. www.jayamodidesign.com Instagram: jayamodidesign

Lena Schwingshandl

Lisa Großkopf

Lena Schwingshandl (*1994) is an

Lisa Großkopf (*1989) studied at the Art

Austrian artist, currently based in

University Linz, the University for Applied

Vienna. She has finished her BA in Visual

Arts Vienna and the Academy of Fine Arts

Communication at the University of Arts

Vienna. Her works were shown in various

and Design in Linz during which she also

exhibitions including at Organhaus

spent one year at the Academy of Fine

(Chongqing, CN), at CCA (Tel Aviv, IL), at

Arts in Tallinn, Estonia. Since 2018 she

Krinzinger Projekte (Vienna, AT) and at

studies Fine Arts at the Academy of Fine

the Museum for Applied Arts (Frankfurt/

Arts Vienna. She exhibited among others

Main, DE). She was awarded the grant for

at Scaffold Gallery (Manchester, UK) EKA

emerging artists by the Austrian Feder-

Galerii (Tallinn, EST) and at Prospekthof

al Chancellery of Vienna, the Gabriele

(Vienna, AT) and performed together with

Heidecker Prize and the Fred-Adlmüller

Laura Cemin at the Modern Art Museum,

grant.

Kiasma (Helsinki, FI) in 2019. www.lisagrosskopf.net www.lenaschwingshandl.com

Instagram: suedsee_palmen_currywurst

Instagram: suedsee_palmen_currywurst

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BYE

editing team

Sara Czerwińska Daniel Eichenberg

open call ciao

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© MMXX –los magzine All Rights Reserved. thanks to Malte Ueckermann Mar Ballesteros Martin Meyer Jeffrey So Daisy Tickner

BYE 46

OPEN CALL by –los magazine

‘No public man in these islands ever believes that the Bible means what it says: he is always convinced that it says what he means.’

Bernard Shaw

Let´s talk about information.

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